Eleven years of history
4,008 hours, 240,456 minutes, of music: 5,238 artists, 20,499 distinct tracks and 155,416 plays.
Summary
Artists
- Joji106 h
- Vansire96 h
- Imagine Dragons96 h
Tracks
- Piano Concerto No. 1 in B-Flat Minor, Op. 23: Allegro non troppo e molto maestoso24 h
- 1812 Overture14 h
- Tommy's Party13 h
Albums
- Night Visions34 h
- Tchaikovsky: Concerto No. 1/Rachmaninoff: Concerto No. 232 h
- Amoroso31 h
Most played
The artists, tracks and albums you played the most.
2020 took 17% of everything you played: 680 h
The numbers
| Year | Hours | Plays | Artists | Tracks | Days with music |
|---|---|---|---|---|---|
| 2015 | 49 | 1,392 | 370 | 764 | 84 |
| 2016 | 151 | 4,610 | 248 | 1,046 | 145 |
| 2017 | 275 | 16,235 | 347 | 1,144 | 282 |
| 2018 | 123 | 5,141 | 381 | 1,167 | 174 |
| 2019 | 537 | 27,560 | 1,252 | 3,617 | 329 |
| 2020 | 680 | 26,346 | 1,263 | 4,700 | 358 |
| 2021 | 524 | 20,315 | 1,089 | 3,774 | 312 |
| 2022 | 367 | 15,172 | 991 | 2,979 | 323 |
| 2023 | 329 | 9,185 | 987 | 3,057 | 294 |
| 2024 | 313 | 10,367 | 928 | 3,152 | 283 |
| 2025 | 309 | 9,574 | 1,154 | 3,694 | 304 |
| 2026 | 350 | 9,519 | 990 | 3,616 | 222 |
How this is counted
Most played
Artists
- Joji106 h
- Vansire96 h
- Imagine Dragons96 h
- Sabaton82 h
- João Gilberto81 h
- Pyotr Ilyich Tchaikovsky73 h
- Frank Sinatra67 h
- Men I Trust54 h
- Peach Pit51 h
- Clairo50 h
Tracks
- Piano Concerto No. 1 in B-Flat Minor, Op. 23: Allegro non troppo e molto maestoso24 h
- 1812 Overture14 h
- Tommy's Party13 h
- What Once Was13 h
- Para Machuchar Meu Coracao13 h
- Next Best Thing12 h
- Estate12 h
- Piano Concerto No. 2 in C Minor, Op. 18: Adagio sostenuto11 h
- Afterthought11 h
- Piano Concerto No. 2 in C Minor, Op. 18: Moderato; Allegro11 h
Albums
Night Visions34 h
Tchaikovsky: Concerto No. 1/Rachmaninoff: Concerto No. 232 h
Amoroso31 h
The Modern Western World30 h
Nectar30 h
Tchaikovsky: Concerto No. 1/Rachmaninoff: Concerto No. 229 h
The Last Stand28 h
Currents28 h
The New Abnormal27 h
BALLADS 127 h
How this is counted
How you listen
The hours of each year, each month and each genre.
2020 had more hours than any other year: 680 h
The numbers
| Year | Jan | Feb | Mar | Apr | May | Jun | Jul | Aug | Sep | Oct | Nov | Dec | Total |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 2015 | — | — | — | — | 5 | 8 | 8 | 5 | 5 | 7 | 7 | 5 | 49 h |
| 2016 | — | 7 | 7 | 1 | 22 | 24 | 0 | 17 | 9 | 25 | 30 | 8 | 151 h |
| 2017 | 25 | 20 | 19 | 15 | 25 | 38 | 14 | 26 | 28 | 24 | 33 | 9 | 275 h |
| 2018 | 7 | 14 | 18 | 25 | 2 | 3 | 0 | 8 | 9 | 13 | 10 | 14 | 123 h |
| 2019 | 14 | 27 | 40 | 33 | 49 | 62 | 60 | 46 | 63 | 41 | 40 | 63 | 537 h |
| 2020 | 71 | 47 | 58 | 55 | 43 | 53 | 37 | 48 | 58 | 75 | 59 | 77 | 680 h |
| 2021 | 49 | 18 | 4 | 8 | 33 | 34 | 51 | 66 | 57 | 65 | 68 | 71 | 524 h |
| 2022 | 54 | 22 | 25 | 11 | 36 | 23 | 30 | 41 | 35 | 34 | 31 | 24 | 367 h |
| 2023 | 25 | 30 | 38 | 21 | 29 | 18 | 21 | 15 | 14 | 32 | 56 | 31 | 329 h |
| 2024 | 47 | 52 | 34 | 36 | 29 | 18 | 24 | 19 | 16 | 18 | 12 | 8 | 313 h |
| 2025 | 33 | 44 | 36 | 19 | 11 | 19 | 27 | 12 | 11 | 30 | 41 | 26 | 309 h |
| 2026 | 36 | 51 | 55 | 47 | 54 | 45 | 30 | 33 | — | — | — | — | 350 h |
Total for the period: 4,008 h.
How this is counted
Joji is the artist you played the most
The numbers
| Artist | Family | Hours |
|---|---|---|
| Joji | Hip hop, R&B and soul | 106 |
| Vansire | Pop | 96 |
| Imagine Dragons | Indie and alternative | 96 |
| Sabaton | Rock | 82 |
| João Gilberto | Brazilian | 81 |
| Pyotr Ilyich Tchaikovsky | Classical and scores | 73 |
| Frank Sinatra | Jazz, blues and folk | 67 |
| Men I Trust | Pop | 54 |
| Peach Pit | Indie and alternative | 51 |
| Clairo | Indie and alternative | 50 |
| Rex Orange County | Indie and alternative | 49 |
| The Strokes | Indie and alternative | 47 |
| 落日飛車 Sunset Rollercoaster | Indie and alternative | 46 |
| Michael Bublé | Pop | 45 |
| Sufjan Stevens | Indie and alternative | 45 |
| Sergei Rachmaninoff | Classical and scores | 45 |
| FLOOR CRY | Indie and alternative | 45 |
| Her's | Indie and alternative | 43 |
| Dmitri Shostakovich | Classical and scores | 41 |
| Tame Impala | Indie and alternative | 38 |
| Arctic Monkeys | Indie and alternative | 38 |
| Stan Getz | Jazz, blues and folk | 35 |
| Wallows | Indie and alternative | 35 |
| Magdalena Bay | Indie and alternative | 34 |
| Johnny Cash | Jazz, blues and folk | 32 |
| Второй этаж поражает | Rock | 30 |
| Daft Punk | Electronic | 29 |
| A Tribe Called Quest | Hip hop, R&B and soul | 29 |
| Kate Bollinger | Indie and alternative | 29 |
| Kero Kero Bonito | Electronic | 28 |
How this is counted
33% of what you hear is indie and alternative
The numbers
| Family | Hours | Share | Artists | Subgenres |
|---|---|---|---|---|
| Indie and alternative | 1,336 | 33.3% | 392 | 36 |
| Pop | 578 | 14.4% | 203 | 26 |
| Rock | 412 | 10.3% | 171 | 36 |
| Classical and scores | 390 | 9.7% | 107 | 8 |
| Jazz, blues and folk | 328 | 8.2% | 164 | 16 |
| Hip hop, R&B and soul | 305 | 7.6% | 135 | 11 |
| Uncatalogued | 271 | 6.8% | 3,847 | 1 |
| Brazilian | 217 | 5.4% | 79 | 15 |
| Electronic | 147 | 3.7% | 112 | 23 |
| Other | 24 | 0.6% | 28 | 7 |
How this is counted
10 families, 169 subgenres
Pop578 h
The song built to fit everyone: clean melody, an easy chorus, production made to sound loud on any device. Less a style than a goal: to reach a lot of people at once.
Pop with no subgenre accent: the radio song, direct and well made.
Pop blurred by reverb and layered guitar — the voice is more texture than lyric.
A pop song made by indie means: sweet melody, modest recording, no wish for a stadium.
Deezer declared the family, but no MusicBrainz tag matches it. The subgenre is left blank.
Machine-made music with no subgenre declared by the catalogue.
The song signed by whoever sings it, with the text at the centre.
Slow-tempo pop made for a listener past the dancing stage.
A rock band with radio ambition: guitar up front, big chorus.
Domesticated 1970s rock: vocal harmony, soft production, no roughness.
Post-punk that accepted synthesisers and choruses — the pop face of the early 1980s.
The acoustic song of oral tradition and its heirs — guitar, voice and a story.
Gospel taken out of church: full voice, hot band, earthly lyrics.
The 1970s dancefloor: steady kick, strings and a dancing bassline.
Pop where the synthesiser takes the guitar's place. Born in the 1980s and never left.
Pop through the warped lens of the 1960s: echo, backwards tape, sweet harmony.
The American songbook before rock: orchestra, crooner and songs that became standards.
Pop built on a dance beat — made for the body before the ear.
The American songbook sung, with the jazz band behind it.
Pop recorded literally in a bedroom, with a laptop and a cheap microphone — and owning that as an aesthetic.
Korean and Japanese pop, with its own industry, its own choreography and its own scale.
Beatles melody at 1970s volume: bright guitar and a chorus inside three minutes.
Pop with a string and horn arrangement borrowed from chamber music.
Synth-pop with contemporary club production: dry beat, treated vocal.
Spanish-language music of the Americas — from bolero to rock in Spanish.
The sweetest, youngest pop, made for teenagers.
Punk with a radio chorus and clean production. Fast, but singable.
Rock412 h
Guitar, bass and drums at the centre. It runs from 1970s radio rock to metal and punk, which are the same instruments played faster and louder.
Rock at its far end: maximum distortion, riff precision and volume as raw material.
Deezer declared the family, but no MusicBrainz tag matches it. The subgenre is left blank.
Rock with no qualifier: guitar, bass, drums and voice.
The rock the 1990s put on the radio without taking the roughness out of it.
Rock that borrowed length, shifting metre and the multi-part suite from art music.
Electric blues played at rock volume — the bridge British rock came in through.
Punk with a radio chorus and clean production. Fast, but singable.
Rock with heavy distortion and the riff in charge, one step before metal.
The 1960s rock that opened up the song with effects, improvisation and hallucination.
Guitar with wet reverb and a beach groove, inherited from 1960s California.
Post-punk that accepted synthesisers and choruses — the pop face of the early 1980s.
What came right after punk: the same hurry, colder harmony, bass in charge.
Small-label rock with unvarnished production — the sound that has defined alternative since the 1990s.
A rock band with radio ambition: guitar up front, big chorus.
Instrumental rock that trades the song for the landscape: it builds in layers until it bursts.
Rock from the American South, with blues, country and two guitars soloing together.
1970s rock in stage costume: simple riff, glitter and theatre.
Rock cut to the bone and sped up — three chords and no patience.
Rock and roll with a country accent and slapped upright bass.
Hardcore with room for melody and dynamics — it screams, then whispers.
Groove as the subject: the rhythm becomes the melody and every instrument becomes percussion.
Rock that treats form as a problem, not a formula.
Domesticated 1970s rock: vocal harmony, soft production, no roughness.
Twelve bars, three chords and the origin of nearly everything that came after.
Melodic punk with confessional lyrics, sung as if it hurt.
Pop through the warped lens of the 1960s: echo, backwards tape, sweet harmony.
The folk song plugged in: guitar, vocal harmony and a band behind it.
The heavy, unkempt rock of Seattle in the early 1990s.
The 1970s German rock that traded the chorus for repetition: a straight hypnotic beat, synthesisers, and no hurry to arrive anywhere.
Slow, heavy riffs, down-tuned guitar and a dragging tempo. Heavy rock without metal's hurry.
1960s psychedelia staged again with modern equipment.
Jazz with electric instruments and a rock or funk groove.
A wall of pedal-fed guitar over the melody. The name comes from staring at your own feet on stage.
Post-punk dressed in black: bass up front, reverb, low voice.
The FM canon — the 1960s and 1970s stadium rock that turned into permanent repertoire.
The 1990s British pop-rock that looked at itself in a 1960s mirror.
Brazilian217 h
Music made in Brazil that no foreign label explains: MPB, samba, bossa nova, tropicália and what came after them. Complicated harmony sung in a simple way.
Samba slowed down and sung quietly, with jazz harmony. Born in the late 1950s and copied all over the world.
Deezer declared the family, but no MusicBrainz tag matches it. The subgenre is left blank.
The acronym Brazil invented for the adult post-bossa song: lyrics written with care and harmony that does not simplify.
The starting point of Brazilian popular music: syncopation, the circle and the short verse.
Samba played by an instrumental trio with jazz freedom — bossa's improvising side.
Groove as the subject: the rhythm becomes the melody and every instrument becomes percussion.
Improvisation over complex harmony, with swing underneath. The music where the performance is the composition.
Rock with no qualifier: guitar, bass, drums and voice.
Pop with no subgenre accent: the radio song, direct and well made.
The popular Brazilian romantic song that official taste rejected for decades, and which never needed it to fill a dance hall.
The music of Brazil's interior: a duo singing in thirds, viola or guitar, and a love story that goes wrong.
The song signed by whoever sings it, with the text at the centre.
Gospel taken out of church: full voice, hot band, earthly lyrics.
Accordion, zabumba and triangle from the Northeast, made for dancing close all night.
Rhythmic speech over a beat assembled from other people's records. The form that reorganised popular music from the 1980s on.
Indie and alternative1,336 h
The rock and pop that organised themselves outside the big labels and kept the sound of it: rougher guitar, voice closer to the microphone, production that admits being homemade. Today it is a recognisable sound, and not only a way of producing.
The rock the 1990s put on the radio without taking the roughness out of it.
Small-label rock with unvarnished production — the sound that has defined alternative since the 1990s.
A pop song made by indie means: sweet melody, modest recording, no wish for a stadium.
Deezer declared the family, but no MusicBrainz tag matches it. The subgenre is left blank.
Pop recorded literally in a bedroom, with a laptop and a cheap microphone — and owning that as an aesthetic.
Low fidelity chosen on purpose: hiss, saturation and imperfection as part of the sound.
Folk recorded with indie sensibility: small arrangement, close voice.
R&B with experimental production and open structure.
The 1960s rock that opened up the song with effects, improvisation and hallucination.
Pop where the synthesiser takes the guitar's place. Born in the 1980s and never left.
Pop with no subgenre accent: the radio song, direct and well made.
Machine-made music with no subgenre declared by the catalogue.
Pop blurred by reverb and layered guitar — the voice is more texture than lyric.
Rock with no qualifier: guitar, bass, drums and voice.
Rock cut to the bone and sped up — three chords and no patience.
Bright open-string guitar, a 1960s inheritance reread by indie.
The 1990s British pop-rock that looked at itself in a 1960s mirror.
Indie played slow and quiet, with silence as an instrument.
What came right after punk: the same hurry, colder harmony, bass in charge.
The song signed by whoever sings it, with the text at the centre.
Hardcore with room for melody and dynamics — it screams, then whispers.
Instrumental rock that trades the song for the landscape: it builds in layers until it bursts.
Post-punk that accepted synthesisers and choruses — the pop face of the early 1980s.
Rock recorded as if live in the garage: dirty, short and direct.
Punk with a radio chorus and clean production. Fast, but singable.
Faded, nostalgic synth-pop from the early 2010s.
Pop that treats the song as an object to experiment on — odd arrangement, crooked structure, chorus anyway.
Baroque pop's cousin, more recent and more indie: a small orchestra serving a small song.
A wall of pedal-fed guitar over the melody. The name comes from staring at your own feet on stage.
Melodic punk with confessional lyrics, sung as if it hurt.
Pop through the warped lens of the 1960s: echo, backwards tape, sweet harmony.
The acoustic song of oral tradition and its heirs — guitar, voice and a story.
Rock that changes metre constantly and treats that as part of the melody. Hard to tap along to, easy to recognise.
Manchester rock with a dancefloor groove in the late 1980s — guitar and beat in the same bar.
Acoustic folk with strange harmony and an altered atmosphere.
The heavy, unkempt rock of Seattle in the early 1990s.
Hip hop, R&B and soul305 h
The Black American lineage and its descendants: soul and R&B, which put the voice at the centre, and hip hop, which traded melody for the beat and the word.
Hip hop built on jazz samples, at a looser tempo.
Rhythmic speech over a beat assembled from other people's records. The form that reorganised popular music from the 1980s on.
Deezer declared the family, but no MusicBrainz tag matches it. The subgenre is left blank.
The Black American song focused on voice and groove — what links soul to today's pop.
Gospel taken out of church: full voice, hot band, earthly lyrics.
Groove as the subject: the rhythm becomes the melody and every instrument becomes percussion.
A slow hip hop beat with film-noir atmosphere — the Bristol sound of the 1990s.
Rap with a sung chorus and radio ambition.
The clean, sensual R&B production from the 1990s onwards.
The 1970s dancefloor: steady kick, strings and a dancing bassline.
The dragging beat and rolled hi-hat that left Chicago and became the most played rap in London.
Electronic147 h
Music whose main instrument is the machine — synthesiser, drum machine, computer. From dancefloor techno to ambient that barely moves.
Machine-made music with no subgenre declared by the catalogue.
Synth-pop with contemporary club production: dry beat, treated vocal.
1980s synthesisers revived as an imaginary film score.
Deezer declared the family, but no MusicBrainz tag matches it. The subgenre is left blank.
Low-tempo electronic music, made to be heard sitting down.
Low fidelity chosen on purpose: hiss, saturation and imperfection as part of the sound.
Hip hop built on jazz samples, at a looser tempo.
A four-on-the-floor beat with a soul sample on top — the Chicago dancefloor that took over the world.
Pop where the synthesiser takes the guitar's place. Born in the 1980s and never left.
House with an aggressive synth and the drop at the centre.
European export pop: simple chorus, bright production, no accent.
Faded, nostalgic synth-pop from the early 2010s.
Pop built on a dance beat — made for the body before the ear.
Music designed to occupy the background of a space — almost no rhythm, almost no beginning.
Groove as the subject: the rhythm becomes the melody and every instrument becomes percussion.
A slow hip hop beat with film-noir atmosphere — the Bristol sound of the 1990s.
A 1930s big band sampler built over a contemporary club beat.
Indie that uses computers and programming without turning into club music.
Jazz with electric instruments and a rock or funk groove.
The festival electronica of the 2010s: build, pause and explosion.
Electronic music made to be listened to rather than danced to: irregular rhythm and designed sound.
Music made to fill the background of a calm room: long synth notes, no chorus and almost no beginning.
Punk with a club beat, made for dancing.
Jazz, blues and folk328 h
The American acoustic root and what grew from it: the blues, the jazz born out of it, and the folk and country that followed the same path of guitar and told story.
Improvisation over complex harmony, with swing underneath. The music where the performance is the composition.
The white rural music of the United States: guitar, steel and direct narrative.
Samba slowed down and sung quietly, with jazz harmony. Born in the late 1950s and copied all over the world.
The song signed by whoever sings it, with the text at the centre.
Folk recorded with indie sensibility: small arrangement, close voice.
Deezer declared the family, but no MusicBrainz tag matches it. The subgenre is left blank.
The acoustic song of oral tradition and its heirs — guitar, voice and a story.
The American songbook sung, with the jazz band behind it.
Samba played by an instrumental trio with jazz freedom — bossa's improvising side.
Twelve bars, three chords and the origin of nearly everything that came after.
Jazz with electric instruments and a rock or funk groove.
Groove as the subject: the rhythm becomes the melody and every instrument becomes percussion.
The fast, virtuoso jazz of the 1940s, made for musicians rather than dancers.
The mix of country, folk and roots rock.
The big band jazz of the 1930s and 1940s — made to fill a ballroom.
Syncopated piano from the early 20th century, the left hand keeping firm time and the right always arriving off it. It came before jazz.
Classical and scores390 h
Music written to be played by others — score before recording. It covers the European art tradition and film and game scores, which are the same writing in service of a scene.
The written European tradition, with no period declared by the catalogue.
Deezer declared the family, but no MusicBrainz tag matches it. The subgenre is left blank.
Music written for a scene in a film.
Music written to be heard on repeat while you play: short theme, perfect loop.
Art music writing from the 20th century on, from minimalism to neoclassicism.
Written for orchestra, inside or outside the concert tradition.
Art music for a handful of instruments and no conductor: the string quartet is its classic form.
Theatre sung from beginning to end, with the orchestra in the pit.
Other24 h
What did not fit any of the eight families above: reggae, Latin music outside Brazil, Asian pop, spoken comedy and the like. There are few artists here.
Korean and Japanese pop, with its own industry, its own choreography and its own scale.
Deezer declared the family, but no MusicBrainz tag matches it. The subgenre is left blank.
Spanish-language music of the Americas — from bolero to rock in Spanish.
Comedy, poetry and speech without singing — it enters the history like any other track.
What the catalogue files as music from another tradition without saying which.
The Puerto Rican dembow beat with rapping and singing in Spanish: the Latin club music of the past twenty years.
Guitar, clapping, footwork and raw singing — the music of southern Spain.
Uncatalogued271 h
Artists neither outside database could classify — either too small to have an entry, or with a name that matched nothing. They stay here, declared, rather than scattered by guesswork.
Neither MusicBrainz nor Deezer could say what these artists play. They stay here, declared, rather than guessed into other families.
How this is counted
The rest
Podcasts, devices and the smaller questions.
You listen most on Wednesdays, between 15h and 16h
The numbers
| Day | 0h | 1h | 2h | 3h | 4h | 5h | 6h | 7h | 8h | 9h | 10h | 11h | 12h | 13h | 14h | 15h | 16h | 17h | 18h | 19h | 20h | 21h | 22h | 23h |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Sunday | 21 | 12 | 8 | 3 | 1 | 0 | 1 | 0 | 2 | 8 | 22 | 35 | 25 | 19 | 35 | 53 | 41 | 39 | 42 | 31 | 30 | 26 | 21 | 10 |
| Monday | 8 | 5 | 4 | 2 | 5 | 0 | 12 | 15 | 38 | 22 | 22 | 33 | 18 | 34 | 51 | 74 | 60 | 49 | 47 | 39 | 38 | 28 | 27 | 19 |
| Tuesday | 12 | 4 | 1 | 1 | 1 | 1 | 6 | 10 | 27 | 27 | 33 | 39 | 30 | 40 | 51 | 53 | 56 | 45 | 44 | 43 | 26 | 27 | 24 | 17 |
| Wednesday | 9 | 5 | 5 | 3 | 2 | 2 | 7 | 12 | 33 | 34 | 28 | 36 | 24 | 46 | 58 | 79 | 75 | 47 | 39 | 43 | 34 | 37 | 23 | 18 |
| Thursday | 8 | 4 | 1 | — | 1 | 1 | 4 | 7 | 26 | 35 | 33 | 32 | 24 | 35 | 50 | 63 | 56 | 48 | 40 | 36 | 31 | 32 | 23 | 18 |
| Friday | 11 | 8 | 4 | 2 | 1 | 1 | 6 | 8 | 26 | 22 | 27 | 34 | 20 | 28 | 42 | 55 | 50 | 34 | 30 | 24 | 26 | 22 | 15 | 13 |
| Saturday | 11 | 10 | 3 | 1 | 0 | 0 | — | 1 | 3 | 9 | 23 | 34 | 34 | 24 | 31 | 37 | 39 | 36 | 34 | 26 | 25 | 27 | 22 | 19 |
How this is counted
The month you played the most was December 2020: 77 h
The numbers
| Month | Hours | Plays | Most played artist |
|---|---|---|---|
| May 2015 | 5 | 96 | John Mayer |
| Jun 2015 | 8 | 162 | Calvin Harris |
| Jul 2015 | 8 | 154 | Imagine Dragons |
| Aug 2015 | 5 | 123 | Queen |
| Sep 2015 | 5 | 203 | Queen |
| Oct 2015 | 7 | 376 | Chromeo |
| Nov 2015 | 7 | 193 | Fall Out Boy |
| Dec 2015 | 5 | 85 | Fall Out Boy |
| Jan 2016 | 0 | 1 | Wesley Safadão |
| Feb 2016 | 7 | 164 | Fall Out Boy |
| Mar 2016 | 7 | 158 | Frank Sinatra |
| Apr 2016 | 1 | 64 | Queen |
| May 2016 | 22 | 585 | Frank Sinatra |
| Jun 2016 | 24 | 556 | Frédéric Chopin |
| Jul 2016 | 0 | 16 | Stan Getz |
| Aug 2016 | 17 | 338 | Hans Zimmer |
| Sep 2016 | 9 | 215 | Michael Bublé |
| Oct 2016 | 25 | 702 | Michael Bublé |
| Nov 2016 | 30 | 1,353 | Sabaton |
| Dec 2016 | 8 | 458 | Sabaton |
| Jan 2017 | 25 | 1,599 | Sabaton |
| Feb 2017 | 20 | 1,083 | Sabaton |
| Mar 2017 | 19 | 1,030 | Frank Sinatra |
| Apr 2017 | 15 | 836 | Frank Sinatra |
| May 2017 | 25 | 1,882 | Frank Sinatra |
| Jun 2017 | 38 | 2,538 | Imagine Dragons |
| Jul 2017 | 14 | 1,085 | Imagine Dragons |
| Aug 2017 | 26 | 1,986 | Pyotr Ilyich Tchaikovsky |
| Sep 2017 | 28 | 1,408 | Pyotr Ilyich Tchaikovsky |
| Oct 2017 | 24 | 1,190 | Pyotr Ilyich Tchaikovsky |
| Nov 2017 | 32 | 1,202 | Pyotr Ilyich Tchaikovsky |
| Dec 2017 | 9 | 396 | João Gilberto |
| Jan 2018 | 7 | 329 | Pyotr Ilyich Tchaikovsky |
| Feb 2018 | 14 | 473 | João Gilberto |
| Mar 2018 | 18 | 918 | Heitor Villa-Lobos |
| Apr 2018 | 25 | 807 | Pyotr Ilyich Tchaikovsky |
| May 2018 | 2 | 106 | Kero Kero Bonito |
| Jun 2018 | 3 | 164 | Kero Kero Bonito |
| Jul 2018 | 0 | 9 | David Hasselhoff |
| Aug 2018 | 8 | 266 | Heitor Villa-Lobos |
| Sep 2018 | 9 | 346 | Heitor Villa-Lobos |
| Oct 2018 | 13 | 486 | Claude Debussy |
| Nov 2018 | 10 | 846 | Imagine Dragons |
| Dec 2018 | 14 | 391 | Joji |
| Jan 2019 | 14 | 516 | Joji |
| Feb 2019 | 27 | 898 | Joji |
| Mar 2019 | 40 | 1,957 | Sergei Rachmaninoff |
| Apr 2019 | 33 | 1,939 | Pyotr Ilyich Tchaikovsky |
| May 2019 | 49 | 2,656 | Sabaton |
| Jun 2019 | 62 | 2,877 | Sabaton |
| Jul 2019 | 60 | 2,918 | Sabaton |
| Aug 2019 | 46 | 1,988 | Sabaton |
| Sep 2019 | 63 | 3,998 | Tame Impala |
| Oct 2019 | 41 | 3,146 | João Gilberto |
| Nov 2019 | 40 | 2,044 | Premiata Forneria Marconi |
| Dec 2019 | 63 | 2,623 | Flerte Flamingo |
| Jan 2020 | 71 | 2,288 | Sufjan Stevens |
| Feb 2020 | 47 | 2,091 | The Strokes |
| Mar 2020 | 58 | 2,540 | Her's |
| Apr 2020 | 55 | 1,983 | Her's |
| May 2020 | 43 | 1,592 | The Honeysticks |
| Jun 2020 | 53 | 2,849 | Erik Satie |
| Jul 2020 | 37 | 1,925 | 落日飛車 Sunset Rollercoaster |
| Aug 2020 | 48 | 1,616 | Pyotr Ilyich Tchaikovsky |
| Sep 2020 | 58 | 2,426 | Joji |
| Oct 2020 | 75 | 2,771 | Men I Trust |
| Nov 2020 | 59 | 1,840 | The Marías |
| Dec 2020 | 77 | 2,425 | Arctic Monkeys |
| Jan 2021 | 49 | 1,702 | Briston Maroney |
| Feb 2021 | 18 | 547 | Neutral Milk Hotel |
| Mar 2021 | 4 | 780 | Bruno Mars |
| Apr 2021 | 8 | 232 | Mild High Club |
| May 2021 | 33 | 1,125 | Glass Animals |
| Jun 2021 | 34 | 1,026 | 落日飛車 Sunset Rollercoaster |
| Jul 2021 | 51 | 1,567 | FLOOR CRY |
| Aug 2021 | 66 | 2,547 | FLOOR CRY |
| Sep 2021 | 57 | 2,552 | Christian Kuria |
| Oct 2021 | 65 | 3,101 | boy pablo |
| Nov 2021 | 68 | 2,399 | Taylor Swift |
| Dec 2021 | 71 | 2,737 | The Weeknd |
| Jan 2022 | 54 | 1,793 | The Weeknd |
| Feb 2022 | 22 | 832 | Kate Bollinger |
| Mar 2022 | 25 | 1,484 | Kate Bollinger |
| Apr 2022 | 11 | 822 | SAULT |
| May 2022 | 36 | 2,033 | Kate Bollinger |
| Jun 2022 | 23 | 1,236 | Harry Styles |
| Jul 2022 | 30 | 1,136 | Trudy and the Romance |
| Aug 2022 | 41 | 1,520 | The Neighbourhood |
| Sep 2022 | 35 | 1,317 | Bilk |
| Oct 2022 | 34 | 1,197 | Lana Del Rey |
| Nov 2022 | 31 | 1,159 | Vansire |
| Dec 2022 | 24 | 643 | Vansire |
| Jan 2023 | 25 | 634 | Joji |
| Feb 2023 | 30 | 733 | Второй этаж поражает |
| Mar 2023 | 38 | 947 | Второй этаж поражает |
| Apr 2023 | 21 | 640 | Vansire |
| May 2023 | 29 | 718 | Vansire |
| Jun 2023 | 18 | 469 | 落日飛車 Sunset Rollercoaster |
| Jul 2023 | 21 | 528 | FLOOR CRY |
| Aug 2023 | 15 | 428 | Vulfpeck |
| Sep 2023 | 14 | 393 | Peach Pit |
| Oct 2023 | 32 | 987 | Sufjan Stevens |
| Nov 2023 | 56 | 1,669 | Clairo |
| Dec 2023 | 31 | 1,039 | Kate Bollinger |
| Jan 2024 | 47 | 1,312 | The Whitest Boy Alive |
| Feb 2024 | 52 | 1,521 | Arctic Monkeys |
| Mar 2024 | 34 | 1,261 | Vansire |
| Apr 2024 | 36 | 1,289 | Yot Club |
| May 2024 | 29 | 873 | Creedence Clearwater Revival |
| Jun 2024 | 18 | 538 | Skank |
| Jul 2024 | 24 | 754 | Clairo |
| Aug 2024 | 19 | 616 | Clairo |
| Sep 2024 | 16 | 682 | Wallows |
| Oct 2024 | 18 | 881 | Jorge Ben Jor |
| Nov 2024 | 12 | 327 | Mat Kerekes |
| Dec 2024 | 8 | 313 | Sufjan Stevens |
| Jan 2025 | 33 | 1,097 | Fall Out Boy |
| Feb 2025 | 44 | 1,270 | The Whitest Boy Alive |
| Mar 2025 | 36 | 1,151 | Men I Trust |
| Apr 2025 | 19 | 541 | Djo |
| May 2025 | 11 | 300 | Sufjan Stevens |
| Jun 2025 | 19 | 720 | Tenorio Jr. |
| Jul 2025 | 27 | 832 | LCD Soundsystem |
| Aug 2025 | 12 | 336 | Dmitri Shostakovich |
| Sep 2025 | 11 | 423 | Vansire |
| Oct 2025 | 30 | 994 | СОЮЗ |
| Nov 2025 | 41 | 1,304 | Joji |
| Dec 2025 | 26 | 606 | Stan Getz |
| Jan 2026 | 36 | 911 | Magdalena Bay |
| Feb 2026 | 51 | 1,191 | Magdalena Bay |
| Mar 2026 | 55 | 1,331 | The Strokes |
| Apr 2026 | 47 | 1,146 | Alvvays |
| May 2026 | 54 | 1,256 | Beirut |
| Jun 2026 | 45 | 1,436 | Olivia Rodrigo |
| Jul 2026 | 30 | 1,351 | The Strokes |
| Aug 2026 | 33 | 897 | George Harrison |
How this is counted
2019 was the year with the most new artists: 932
The numbers
| Year | New | Already known | Total | Share of new |
|---|---|---|---|---|
| 2015 | 370 | 0 | 370 | 100% |
| 2016 | 179 | 69 | 248 | 72% |
| 2017 | 210 | 137 | 347 | 61% |
| 2018 | 230 | 151 | 381 | 60% |
| 2019 | 932 | 320 | 1,252 | 74% |
| 2020 | 701 | 562 | 1,263 | 56% |
| 2021 | 481 | 608 | 1,089 | 44% |
| 2022 | 487 | 504 | 991 | 49% |
| 2023 | 482 | 505 | 987 | 49% |
| 2024 | 320 | 608 | 928 | 34% |
| 2025 | 500 | 654 | 1,154 | 43% |
| 2026 | 346 | 644 | 990 | 35% |
From 2021 on, the already known outnumbered the new.
How this is counted
You listen most in November and least in April
The numbers
| Year | Jan | Feb | Mar | Apr | May | Jun | Jul | Aug | Sep | Oct | Nov | Dec |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 2015 | — | — | — | — | 5 | 8 | 8 | 5 | 5 | 7 | 7 | 5 |
| 2016 | — | 7 | 7 | 1 | 22 | 24 | 0 | 17 | 9 | 25 | 30 | 8 |
| 2017 | 25 | 20 | 19 | 15 | 25 | 38 | 14 | 26 | 28 | 24 | 33 | 9 |
| 2018 | 7 | 14 | 18 | 25 | 2 | 3 | 0 | 8 | 9 | 13 | 10 | 14 |
| 2019 | 14 | 27 | 40 | 33 | 49 | 62 | 60 | 46 | 63 | 41 | 40 | 63 |
| 2020 | 71 | 47 | 58 | 55 | 43 | 53 | 37 | 48 | 58 | 75 | 59 | 77 |
| 2021 | 49 | 18 | 4 | 8 | 33 | 34 | 51 | 66 | 57 | 65 | 68 | 71 |
| 2022 | 54 | 22 | 25 | 11 | 36 | 23 | 30 | 41 | 35 | 34 | 31 | 24 |
| 2023 | 25 | 30 | 38 | 21 | 29 | 18 | 21 | 15 | 14 | 32 | 56 | 31 |
| 2024 | 47 | 52 | 34 | 36 | 29 | 18 | 24 | 19 | 16 | 18 | 12 | 8 |
| 2025 | 33 | 44 | 36 | 19 | 11 | 19 | 27 | 12 | 11 | 30 | 41 | 26 |
| 2026 | 36 | 51 | 55 | 47 | 54 | 45 | 30 | 33 | — | — | — | — |
How this is counted
Joji was in the top five in 6 of 12 years
The numbers
| Artist | 2015 | 2016 | 2017 | 2018 | 2019 | 2020 | 2021 | 2022 | 2023 | 2024 | 2025 | 2026 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Joji | — | — | — | #9 | #4 | #4 | #6 | #3 | #4 | #28 | #1 | #4 |
| Imagine Dragons | #2 | #3 | #3 | #4 | #7 | #17 | — | #2 | #25 | — | #30 | — |
| Vansire | — | — | — | — | — | #19 | #9 | #4 | #1 | #7 | #5 | #2 |
| João Gilberto | — | — | #12 | #3 | #2 | #5 | #5 | #12 | #9 | #39 | #24 | — |
| Sabaton | — | #4 | #1 | #13 | #1 | — | — | #38 | — | — | — | — |
| Pyotr Ilyich Tchaikovsky | — | — | #4 | #1 | #3 | #16 | #28 | — | — | — | #32 | — |
| Frank Sinatra | #33 | #2 | #2 | #10 | #9 | — | — | — | — | — | — | — |
| Men I Trust | — | — | — | — | — | #1 | #12 | #33 | #34 | — | #3 | — |
How this is counted
45% of plays came from shuffle
- Skip rate
- 12.4%
- On shuffle
- 45%
- Off the network
- 2.1%
- Longest streak
- 162 days
- Fullest day
- 8.2 h
- Most repeated in a day
- 48×
On which device
The numbers
| Device | Hours | Share |
|---|---|---|
| Windows | 2,049 | 51.1% |
| Android | 1,901 | 47.4% |
| iPhone and iPad | 27 | 0.7% |
| Connected device | 15 | 0.4% |
| Not reported | 9 | 0.2% |
| Browser | 6 | 0.2% |
Outside Brazil — the other 3%
The numbers
| Country | Hours | Plays | Share of total |
|---|---|---|---|
| Brazil | 3,899 | 149,936 | 97.3% |
| United States | 75 | 3,628 | 1.9% |
| Italy | 18 | 1,333 | 0.4% |
| Unidentified | 7 | 288 | 0.2% |
| Panama | 2 | 100 | 0.1% |
| Albania | 2 | 33 | 0.1% |
| Canada | 2 | 51 | 0% |
| Germany | 0 | 13 | 0% |
| United Kingdom | 0 | 6 | 0% |
| Colombia | 0 | 14 | 0% |
| France | 0 | 13 | 0% |
| Seychelles | 0 | 1 | 0% |
How this is counted
952 h of podcasts, left out of every other number
- Therapy Gecko220 h
- Projeto Humanos: O Caso Leandro Bossi146 h
- The Ezra Klein Show59 h
- Foro de Teresina59 h
- Presidente da Semana48 h
- Behind the Bastards45 h
- Projeto Humanos: O Piloto41 h
- Within Reason33 h
- Café Com Crime29 h
- Philosophize This!20 h